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Traces of the (Un)Familiar : Family, Identity, and the Return of the Repressed in the Photographs of Ralph Eugene Meatyard

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University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2017 Traces of the (un)familiar : family, identity, and the return of the repressed in the photographs of Ralph Eugene Meatyard. Hunter Martin Kissel University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Modern Art and Architecture Commons, and the Photography Commons Recommended Citation Kissel, Hunter Martin, "Traces of the (un)familiar : family, identity, and the return of the repressed in the photographs of Ralph Eugene Meatyard." (2017). Electronic Theses and Dissertations. Paper 2807. https://doi.org/10.18297/etd/2807 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. TRACES OF THE (UN)FAMILIAR: FAMILY, IDENTITY, AND THE RETURN OF THE REPRESSED IN THE PHOTOGRAPHS OF RALPH EUGENE MEATYARD By Hunter Martin Kissel B.A, Transylvania University, 2014 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art(C) and Art History, Critical and Curatorial Studies Department of Fine Arts University of Louisville Louisville, Kentucky August 2017 Copyright 2017 by Hunter Martin Kissel All rights reserved TRACES OF THE (UN)FAMILIAR: FAMILY, IDENTITY, AND THE RETURN OF THE REPRESSED IN THE PHOTOGRAPHS OF RALPH EUGENE MEATYARD By Hunter Martin Kissel B.A., Transylvania University, 2017 A Thesis Approved on July 27, 2017 By the following Thesis Committee _______________________________________ Dr. Chris Reitz Thesis Director _______________________________________ Dr. Jongwoo Jeremy Kim Second Committee Member _______________________________________ Brian Sholis Third Committee Member ii DEDICATION To Dorothy May Kissel and Betty Ann Corrigan iii ACKNOWLEDGMENTS This project would be substantially lacking if not for the guidance of Dr. Jongwoo Jeremy Kim and Dr. Chris Reitz. I am immeasurably grateful for their encouragement and criticism offered throughout the duration of this project. They have both heavily shaped my abilities as a writer, critical thinker, and individual. I would also like to extend thanks to Brian Sholis for his contributions as committee member and for our relevant conversations, for sharing research materials with me, and for demonstrating curatorial and scholarly expertise. My educational pursuits would not have been possible without the support from the Hite Art Institute at the University of Louisville and the Elizabeth P. and Fredrick K. Cressman Scholarship award. The Hite has provided me with invaluable learning resources, a solid professional network, and opportunities to contribute to the vibrant arts community in Louisville that I would not have had otherwise. I am also indebted to multiple individuals who, through interviews and archival inquires, expanded my knowledge of Meatyard and photography. Christopher Meatyard has been extremely generous during each stage of this project. He expanded my familiarity with the more nuanced qualities of Meatyard’s life and practice as well as certain unpublished photographs by his father. I would also like to thank Elizabeth Reilly at the University of Louisville Photographic Archives, Bebe Lovejoy at the Art Museum at the University of Kentucky, Cynthia Young at the International Center of Photography, iv Dr. Susan Jarosi at the University of Louisville, as well as C.J. Pressma and Peter Morrin for their insight about Meatyard. Lastly, I thank my parents, Joni and Bernie, and Colin for their unwavering love, encouragement, and continuous belief in me, and Dani for being a pillar of support and an extra set of eyes whenever I needed them. Without them, this endeavor would not have been possible. v ABSTRACT TRACES OF THE (UN)FAMILIAR: FAMILY, IDENTITY, AND THE RETURN OF THE REPRESSED IN THE PHOTOGRAPHS OF RALPH EUGENE MEATYARD Hunter Martin Kissel July 27, 2017 This thesis explores the ways in which photographs by Ralph Eugene Meatyard provoke the uncanny—or Das unheimlich as Freud originally wrote in 1919—by breaking from conventions of mid-twentieth century family photography often utilized to establish and maintain genealogical unity. Meatyard’s photographs of his family and friends are accentuated by blurring techniques, prolonged exposures, and the incorporation of dime- store masks, and as a result depict moments when reality is disrupted by the return of repressed material from childhood. For a multitude of reasons, Meatyard’s photographs elicit comparisons to Surrealist photography as well as certain American modernists who also explored the notion of identity, such as Duane Michals, Van Deren Coke, and Minor White. Although he rarely left his home of Lexington, Kentucky, Meatyard was aware of the camera’s widespread use to produce and retain social myths. His photographs unveil these myths by incorporating elements that align with psychoanalytic theory. vi TABLE OF CONTENTS PAGE ACKNOWLEDGMENTS………………………………………………………………..iv ABSTRACT……………………………………………………………………………...vi LIST OF FIGURES……………………………………………………………………...vii INTRODUCTION………………………………………………………………………...1 BREAKING FAMILY PHOTOGRAPHY………………………………………………..5 PURSUING THE UNCANNY…………………………………………………………..33 REFLECTIVE AND FRAGMENTED: MEATYARD AND THE INSTABILITY OF IDENTITY……………………………………………………………………………….69 CONCLUSION…………………………………………………………………………105 REFERENCES…………………………………………………………………………112 CURRICULUM VITAE………………………………………………………………..118 vii LIST OF FIGURES FIGURE PAGE 1. Bingham (Paris), Portrait of a standing man, c. 1865, Collection of Geoffrey Batchen…………………………………………………………………………………..10 2. Wallace Studio (Louisville, KY), Photograph of seven siblings, 1964, Collection of the author…………………………………………………………………………………….12 3. Ralph Eugene Meatyard, Untitled (Woman and child framing parallelogram window), 7 c. 1970-2, gelatin silver print, 6 ¾ x 6 /8”. Copyright Estate of Ralph Eugene Meatyard…………………………………………………………………………………15 4. Ralph Eugene Meatyard, Lucybelle Crater and Her 40 Yr Old Husband Lucybelle 7 Crater, c. 1969-71, gelatin silver print, 7 /16 x 7 1/2”. Copyright Estate of Ralph Eugene Meatyard…………………………………………………………………………………23 5. Ralph Eugene Meatyard, Lucybelle Crater & 20 Yr Old Son’s Legless Wife Lucybelle 7 Crater, c. 1969-72, gelatin silver print, 7 /16 x 7 ½”. Copyright Estate of Ralph Eugene Meatyard…………………………………………………………………………………27 6. Ralph Eugene Meatyard, Lucybelle Crater & 15 Yr Old Son Lucybelle Crater, c. 1970, 3 5 gelatin silver print, 7 /8 x 7 /8”. Copyright Estate of Ralph Eugene Meatyard…………28 3 7. Ralph Eugene Meatyard, Chapter Pain #6, c. 1960, gelatin silver print, 7 /8 x 5 7 /8”. Courtesy University of Louisville Photographic Archives. Copyright Estate of Ralph Eugene Meatyard………………………………………………………………….38 8. Ralph Eugene Meatyard, Occasion for Diriment (Young girl and masked boy beating his breast), 1962, gelatin silver print, 7 x 7 ½”. Copyright Estate of Ralph Eugene Meatyard…………………………………………………………………………………40 9. Ralph Eugene Meatyard, Untitled (Group of children with dolls and masks), 1963, 5 gelatin silver print, 7 /16 x 8 ¼”. Collection of Jonathan Greene. Copyright Estate of Ralph Eugene Meatyard………………………………………………………………….43 10. Hans Bellmer, L’Idole, 1937. Bihl Bellmer Collection. Courtesy Editions Filipacchi- Sonodip…………………………………………………………………………………..45 viii 11. Ralph Eugene Meatyard, Untitled (Boy below white mask and broken mirror), 1962, 7 5 gelatin silver print, 7 /16 x 7 /8”. Copyright Estate of Ralph Eugene Meatyard………..50 12. Ralph Eugene Meatyard, Untitled (Boy wearing white mask below broken mirror), 7 3 1962, gelatin silver print, 7 /16 x 7 /8”. Copyright Estate of Ralph Eugene Meatyard…51 13. Ralph Eugene Meatyard, Untitled (Archway with ghost), 1966, gelatin silver print, 7 3 /8 x 7 ¼”. Copyright Estate of Ralph Eugene Meatyard………………………………...54 14. Man Ray, Explosante-fixe, 1934. Private Collection, Paris………………………….58 15. Ralph Eugene Meatyard, Untitled (Two ghosts with fireplace), 1969, gelatin silver print, 6 ¼ x 6 ¼”. Copyright Estate of Ralph Eugene Meatyard………………………...60 16. Ralph Eugene Meatyard, Untitled (Boy holding mannequin hand), 1961, gelatin silver print, 7 ½ x 7 ½”. Copyright Estate of Ralph Eugene Meatyard………………………...61 17. Maurice Tabard, Hand and Woman (Main et femme), 1929. Collection of Robert Shapazian, Fresno, California……………………………………………………………63 18. Ralph Eugene Meatyard, Untitled (Male nude in bathroom), 1970, gelatin silver print, 1 1 11 /16 x 9 /16”. Copyright Estate of Ralph Eugene Meatyard…………………………..66 19. Hans Bellmer, Doll (La Popuée), 1936/1949. Musée National d’Art Moderne, Paris………………………………………………………………………………………71 20. Ralph Eugene Meatyard, Romance (N.) from Ambrose Bierce #3 (Masked children on 1 3 numbered steps), 1962, gelatin silver print, 7 /16 x 7 /8”. Copyright Estate of Ralph Eugene Meatyard………………………………………………………………………...73 21. Ralph Eugene Meatyard, (title unknown), c. 1960, gelatin silver print. Copyright Estate of Ralph Eugene Meatyard………………………………………………………..75 22. Duane Michals, Now Becoming Then, gelatin silver print, 8 x 10”. Courtesy
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